BEN TV !!

What is Ben TV ?

Ben TV is an interactive Gig Guide and Promotional Tool for aspiring Artists. Collectively ran by Ben Howman (Melbourne, Vict., Australia), Paul Gregerson (Hokes Bluff, Alabama, USA), they promote Artist’s and Venues through the resources gathered by the collective on their fortnightly Program.
Mark Gardner, Angela Butler and Ben Howman cover Melbourne.
Mis Divine in Brisbane.
JuZ (The JuZ Show) has a Heavy Metal show also appearing on the channel.bentv@wiya.com.au Online TV show
The show airs every 2nd Tuesday of the month and is dropped in on our facebook page as well as our Wiya page ;

(Wiya stands for – ‘What’s In Your Area.’)

Mis Divine of Brisbane will be getting bands and solo artists out to her Studio’s, doing an interview, perhaps creating a song for her Mis Divine Music Challenge, and promoting one of your originals.

Click Here To Go To Our facebook Page Now !

The Melbourne team is focusing a lot on going to live venues, talking to the entertainers, the crowd and the venue owners.

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Regina Norwood – Poet.Click on her Picture to contact her via facebook.

Regina Norwood – Poet !

Click On The Link To Go There Now !

When I first wrote this Article about Regi, she was in the final edit phase. I’m glad to say that she has now completed her book . This is more than just a book of poems, it’s a guide. Its different catergories fit in with every bit of lifes changing moments during the day.The different catergories then give you a guide as to what you might need to read today.

Regi’s unique style of writing takes you through the battle of mood disorders, helps you rationalise them and spins the poem around to a positive outcome. I never get tired of her work. Though for some, reading her work out of context might be a bit confronting. An excellant piece of work Regi, thank you!

Born in Innisfail Queensland, Regina spent her formative years growing up in Mt. Druitt in the Western Suburbs of Sydney. Her Mother was born in Cairns and Father, Maryborough, so a return to Queensland was on on the cards. Regina now Lives with her own Family (Two Lovely Daughters) in South East Queensland.

She is a prolific writer and has an incredible talent. Regina writes about life, and the lesson’s we all learn from living it. Naturally she writes from the perspective of her own sex. However, this is very refreshing in itself !The insight’s she provides not only appeal to Women but, Men who care about the Women in their lives.

Regina’s words can break your heart and inspire you to do better all in the one poem. Every Man should read her work. It would give them an insight into the hazard’s that every woman endures daily in their existence. Hopefully it will also teach them to respect the hardship’s of a Woman;s life.

Regina has an incredible style. She handles difficult topic’s honestly, and always resolves each topic with a positive out come ! Inspired by life her Children are her greatest love. Perhaps that’s why she faces life’s Demon’s through her writing. To assure herself she has the strength and knowledge to keep them safe. She is a Lioness of prose protecting her Cub’s through verbal confrontation and reflection.

Nicola Lautré

Nicola Lautré

Nicola is an artist living in Brisbane, Australia. She has a passion for listening to Blues/Rock music and painting in watercolour.

Born in Johannesburg, South Africa. Nicola studied art at School and Art College.

Nicola worked in the Advertising Industry for Eight years as a Graphic Designer and Illustrator.

In that time Nicola also developed a passion for watercolour. She did a series of paintings of Alexandra township, and undertook portrait commissions.

Nicola then spent 12 years freelancing for Nestlé. (Southern and Eastern African region)

She designed their chocolate and confectionery packaging.

In 2007 Nicola emigrated to Australia.

Nicola continues to enjoy painting, with a particular interest in figurative work.

Featured In this Article Are Nicola’s Water Colour Painting’s of ;

James Grim, Andrea Marr, Christian Tryhorn and Dallas Frasca.

“Nicola’s Work is refreshing and eerie !

It’s like looking into a mirror with a Photo-shop program on it !

She is has an incredible gift.”

Tom McLeod

Australian Music and Entertainment Scene.

James Grim

Click on Nicola’s Painting To Hear and Buy Music from

The Brothers Grim and The Blue Murders.

“In the modern world of music, few things are as hard to create as something that is truly unique. Indeed, in a shrinking industry that is driven almost entirely by profits, being unique is often considered to be a risky move. Perhaps, then, that is why it is so refreshing to hear a band like Brothers Grim.”
– Matthew Woodward (News Hit)It’s been a long, well-trodden road since 2007 when Brothers Grim and The Blue Murders were first established.The Brother’s unique morphing of the delta-blues finger-styling’s of Bukka White delivered with the boogie of Gene Vincent, the bloodlust of Rose Tattoo and the spectacle of Iggy Pop plus five years of electrifying, lustful and often humorous live performances have fashioned this foursome into a well-loved group that never disappoints.Every mile on every highway, every sweat-soaked performance and every morning awaking in someone’s flower bed has been more than fruitful for the Brothers; converting all who see them, party with them or be-friend them into a rapidly growing community across Australia. It’s hard to talk about Brothers Grim without talking about their fans. In fact, they are almost the same thing, one massive pool of chaos and sweat heaving in a tangled interaction of mutual lust and excitement.Formed in 2007, James and Matt Grim (Guitarist to look out for in 2011 – Australia Guitar Player Magazine) began writing slide-infused songs inspired by the blues music they grew up listening to but delivered with the possession and abandonment of the rock music that inspired their youth. Currently accompanied by the always impressive drumming of Stephen Devlin and now with newest member Dominic Lindus attacking the double bass, their live shows are more gripping than ever.With a sold-out album launch at The Corner Hotel in July 2011 behind them, the MGM release sell out of their debut album A Year To Forget, playing an impressive array of large national venues, performances and invitations to some of Australia’s largest festivals and a new album well under way – it’s hard to see a future as apparent as theirs.

Andrea Marr

Click on Nicola’s Painting To Hear and Buy Music from

Andrea Marr

INTRODUCING: THE PINT SIZED POWERHOUSE OF THE BLUES

Andrea Marr, considered the queen of Australian Blues for her high energy, joyous performances, and clever tongue-in-cheek lyrical content, is proud to announce the release of her first official soul album – the EP “Sass & Brass.” The sound is a combination of soul and blues, filled with the genuine passion of someone who has truly loved and lived this music. It’s a powerfully energetic, brassy, big sound, reminiscent of Sharon Jones & the Dap Kings, Ike & Tina Turner, and the JBs. The album is the result of a second collaboration with co-producer Cam Scott, also Andrea’s keyboard player and arranger for several years. It’s a follow up to her last CD “Little Sister Got Soul,” which peaked at #18 on the Living Blues Radio Charts, and garnered many recognitions and rave reviews, including 2009 Australian Female Blues Artist of the Year. Although short and sweet, Andrea’s new EP serves up a heaping helping of steamy, sultry soul to shake your booty too.

Andrea has been singing blues, soul, and gospel music since 1997. “Sass & Brass” marks her fifth recording overall, and second release in the United States. She’s known for her trademark sultry, sassy, and soulful vocals, and a style that mixes high-energy blues with a Stax styled, big soul sound. Her passion and feeling for music and standout vocal style have earned her many fans; much deserved awards and recognitions, and have taken her and her music all over the world. Andrea plans to tour the US again in the summer of 2013.

Christian Tryhorn. – Transvaal Diamond Syndicate.

Click on Nicola’s Painting To Hear and Buy Music from

Transvaal Diamond Syndicate

Transvaal Diamond Syndicate (TDS) are the manufacturers of some of Australia’s finest foot-stompin’ swamp and dirty blues/rock.”Great guitar riffs with cool and clear lyrics. Bound to get the speakers rattling.” Sydney Daily Telegraph”Fans of Clutch and Ash Grunwald need to sit up and take notice now. Deadly! 5 STARS.” Zoo WeeklyAS FEATURED ON TRIPLE J RADIOPERFORMED AT 2011 BYRON BLUESFESTJuly 2009 saw the beginning of a rapid upwards journey for Transvaal Diamond Syndicate, almost immediately garnering attention for their raw, energetic, exciting and often primeval live shows. Since then, the TDS have only gone from strength to strength, gathering fans left and right from constant touring and performing and engaging with fans through their strong online presence (e.g YouTube – Tuesday Tinnies with TDS).Now it seems all the hard work is paying off – Transvaal Diamond Syndicate’s 2011 was shaped by their inclusion on Australia’s premier Festival, Byron Bay Bluesfest, alongside international acts such as Bob Dylan, Michael Franti & Spearhead and Ben Harper as well as the signing of a record deal with Starving Kids Records/MGM for their latest release. Then followed a 40-date East Coast tour to promote ‘Sins of the Blessed’, their 7 track mini-album which showcases the band’s diversity as it moves and swells through straight blues progressions into half-time rock and rockabilly into stoner groove and dark roots balladry.The 3 single releases thus far have fared well in the market with lead track ‘Devil on My Shoulder’ and straight-blues’ ‘Ol’ Carolina’ receiving Triple J Radio play, along with stoner-anthem ‘I’m Your Ticket’ gaining the # 6 ‘Hottest Track of 2011’ (4ZzZ Radio Brisbane) and ‘top 10 most-requested track on Community Radio’ status in September (AMRAP). ‘Devil on My Shoulder’ made the finalists of the Independent Music Awards (Blues Song Category), an international song competition, and also featured on the 2011 Brisbane Sounds Compilation. The album’s shaping up to be a cracker and was released NATIONWIDE through MGM Distribution, Starving Kids Records and JBHiFi in late 2011. Head into your local JB’s to grab yourself a copy.

Their live show reputation, full of sweaty machismo, catchy hooks, foot-stompin’ beats and tribal expression, has grabbed them support slots including Ash Grunwald, Dallas Frasca, The Snowdroppers, The Fumes, Elliot Brood (Canada), Marshall and the Fro and The Beards. It has also seen them headline over 100 venues around the country.

The September 2010 EP release, Diamonds and Dust also performed well, with track 1 Behind That Smile awarded a 2010 Q-Song Highly Commended spot in the Blues and Roots category whilst track 4 Home was the number 1 song in 4ZzZ’s Hot 100 songs of 2010 and won the Qld Blues Awards ‘Song of the Year’. Home was also in the top 20 purchased singles in the week it was released on iTunes Australia (Blues genre) and has been used in a range of international synch opportunities. TDS also nabbed a top 40 slot in the AMRAP charts for Artists most played on Australian Community Radio in 2010, with Home and Behind That Smile both being in the top 10 overall in numerous weeks in late 2010. They now feature regularly on a large number of radio stations across the country.

2012 has kept the band super busy with a 63 date mammoth tour of the East Coast (Cairns down to Tasmania). The tour promoted the latest single release ‘Pistols at Dawn’ and saw the act clock up over 20,000kms on the trusty tour van (TDS EXPRESS). Add to this 8 confirmed festivals throughout Australia and writing for a new album and you’ll see why they have been tagged as one of the hardest working bands in the country.

The band has another major national tour planned from Feb – July 2013, along with a new full-length release and confirmed festival appearances at Blues on Broadbeach amongst others.

“This is new school blues that is as exciting as it is electric and yet another shining example of the deep and creative roots scene Australia is privy to enjoy.” – Time Off

Dallas Frasca

“Frasca is truley one of Australia’s most inspiring and strong willed female Artists” Reverb Mag

DALLAS FRASCA – BIO

Dallas and her band have just returned from New York with their second full length album in hand, where they worked with Australian producer Andy Baldwin (Bjork, Chrissie Amphlett, Living End, Kram, Cat Empire) at Rola Pola Studio’s in Brooklyn.One of the tracks from the upcoming album has been mixed by the legendary producer Tchad Blake (Black Keys, Elvis Costello, Pearl Jam, Tom Waits, Sheryl Crow, The Dandy Warhols, Gomez) in the south of France. It’s shaping up to be a big year for the Australian Underground retro riff rocker, with “Sound Painter” due for release in 2012.The entire album was recorded live in New York after 4 months of songwriting in Melbourne. Expect slabs of guitar riffage, skin slamming drums and heavy, soulful vocals.Dallas recalls, “Recording in New York, riding our pushies across the WIllamsburg Bridge every day from Manhattan, that change of scene was inspiring. It gave me, Jeff and Pete a chance to be anything we wanted to. You can hear the confidence on the recording we made.”By the age 18 Frasca was on the road, chanelling all the sass and irreverence of Chrissie Amphlett and Suze Demarchi. Armed with power and torque reminiscent of Aretha Franklin and Betty Davis her stand out voice didn’t take long to get noticed. After developing nodules and being forced not to sing for 18 months she turned her gaze to the guitar, and her evolution was complete.In 2006, she won triple j’s “Light Your Fuse” competition from over 500 entries. Her career exploded from there. Dallas won the 2010 ‘Artist Of The Year’ at the Musicoz Awards and her album was voted in the ‘top ten’ best roots releases on JJJ in 2009. She has also stormed the stages at countless major festivals (Big Day Out, Falls, Bluesfest, Pyramid Rock, Festival of the Sun, Queenscliff, Southbound, and major French festival – Blues Passion Cognac). The bands tribal and stomping roots performances have earned them a large, loyal fan base.

In 2008 Dallas sang for Aussie Alt-Rock royalty Midnight Oil in Sydney, in support of Amnesty International.

In early 2009 Dallas was invited to perform as one of seven artists from seven continents of the planet for International Earth Day in Montreal. It not only allowed her the thrill of holding a dialogue with fellow-artists about social and environmental issues, but she caught the ear of Canadian promoters who have invited her to come back and tour there.

One very loud woman stands out musically and vocally from the rest. Independent of major labels, trends and a bullshit industry that all to often is nothing but smoke and mirrors.

Dallas Frasca is a hard working independent juggernaut who, with this yet to be released album, is carving the way with her band in Australia and internationally.

“Currently one of the most successful independent musicians in Australia.”
Time Off

“If you like your rock molten, monolithic and propelled by passion and authenticity, it’s time to tune into Dallas Frasca.”
Beat Magazine

“Frasca’s voice seems to be getting more versatile and refined – she has the makings of a superstar.”
Inpress Magazine

Australian Music and Entertainment Scene.

(AMES)

We (AMES) have Media Information and Fan Pages on most Social Networks. If artists post a link or play list we will invite them to join our Industry Only Networking Group. From there we will promote you on our 10 Internationally Synced Sites. For Free !

“AMES” is devoted to the encouragement of Australian Artists. We encourage Fellowship and Mentorship within these Networks. Artists might well find the help they need amongst their peer’s in here.

“AMES” finds and offers Artists opportunities on it’s pages. You may – or may not, decide to take up these opportunities. We try to check out all contributors by ABN and APRA / AMCOS numbers before posting. Unfortunately some unscrupulous opportunist’s sometimes slip by. A good rule of thumb is to never to expect something for free. Also make sure that you know who you are dealing with. You would not be acting professionally if you didn’t know.

From Time To Time We Do A Compilation Album Of Unsigned an Original Artist’s Within Our Membership.

This is our Last CD, You Can Support Australian Music By Clicking On The Link Below.

All Proceeds Go To The Artists.

There is no profit going to AMES for this.

We ( AMES ) offer you the opportunities. However, we can not be held responsible for your actions, or for those by the persons you you might choose to apply to through it’s pages.

By posting your link to “AMES” it will increase your hit’s to your links, possibly improve your Digital Playlist Sales and give you the contacts you need etc..

AMES gets 900,500 hit’s each month on facebook alone.

Conservatively on all 10 World Wide Web Pages we have a viewing of over 5 1/2 million hit’s a month. (World Wide)

That is more than most monthly online magazines !

We also have an “Industry Only” Networking Group. This is your haven away from Fan’s enabling you to Network and help each other.

2013 is the 7th year of AMES and the Database of Australian Musicians has grown incredibly. We have been able to help Artists, Entertainers, Promoters, Managers, Production Personel … in fact anyone within the Industry because we have been able to consolidate them in one place and direct them appropriately when we are asked for help.

Australian Music Business Management System.

Independent Artists and Band Managers!

Wouldn’t you like to have a successful artist manager drive your music career? Hard to secure, aren’t they? Imagine if an experienced artist manager offered you all the tools, and the knowledge, and the contacts you required to succefully drive your own music career? Would that help you? Because that is exactly what’s on offer here. So why waste years unnecessarily, when this manual can give you everything you need today?

A revolutionary new subscription based, online platform, Australian Music Business Manual is an artist management, marketing and music release system that brings all the different sections of music business together in one place. Easy to understand, easy to implement, yet comprehensively detailed and to the point, now anyone can take advantage of the experience, knowledge and the tools of an industry professional and give your music career the best chance of success at an affordable price.

Let me show you some of the savings we create for you in Australian music Business Manual.

The savings we list below are not the real value of this package. The real value is in the knowledge and understanding of the business that we supply. This alone is worth well more than the $450 price tag.

The savings listed below, we supply to our subscribers as they are what a great artist manager would pass down and save your career if you were signed to them. And so to make sure I deliver to you a complete management system, I deliver the same, to make sure subscribers gain full value for their investment. This is what makes this product the only complete self help Australian Music Business Management system available in this country.

I am only going to touch the edges on the savings we create for you because there simply to many way we create ways to save you money and create income.

The value of the forms supplied and listed in the contents are yours for life whether you resubscribe for the second year or not.

Trademark categories and sub categories research would take you around 5 hours minimum to sort out by yourself but you would probably need a lawyer or IP expert. We teach you how to DIY and Save $900 + 5 hours of time.

Business Phone Skills – 6 months training saved. Get the gigs, make the deals.

Band Member agreement ready to go except for your own minor adjustments. Save $600 minimum

Electronic Business Signature – Near Zero printing . Save $200 minimum in ink jets a year

One page booking agreement Save $25

Full Booking Agreement Save $700

Professional Modulated Stage Plan and Back line Save$100

Record Producer Agreement Save$500

Broadcast release form Save $50

Merchandise Consignment Agreement Save $50

Tour Budget Form Save$20

Tour Booklet Save$150

Music Media database – Save$250 minimum

1 x hour consultancy – Save $75

The other forms are time savers and knowledge so we wont count them in our quest to show financial value for these purposes.

Whether you need them now or next year we will save you $3620 just within the forms + time. What could you do with that extra cash?

Then there are leads we supply to great businesses that supply products and services required by a professional self managed artist to function at high level.

Accounting software such as Quick Books and MYOB can cost anything between $300 and $1000′s. So we supply you with a basic invoice to get you out of trouble. And we also introduce you to an accounting software to get your books started professionally and on the right foot with easy to use invoicing systems for around $60 a year until you can afford a more extensive software. SAVE $240 MINIMUM in your first year

Public Liability. I know most of you say I don’t need that, the venue should do it. But the fact is the venue and you need to have public liability. If you want to perform at a Festival anywhere in Australia, You will have to gain public liability full stop. In Queensland you will not find many venues at all that will allow you to play without it and you will definitely have to have it if you want to gain a professional booking agent. So you can dodge it for a while but if you want to move forward an give yourself best chance to gain festival slots, quality venues and booking agents to represent you, then Public Liability is a must!

So Public Liability can be very expensive. We send you to a company that changes that. I have saved many artists I work with an average saving of around $1500 a year every year, by moving them to the company we send you to, from now on. And this covers the whole band. And it will include some of your instruments to boot. As Homer Simpson would say WooooHooooa. So for around $300 a year you and your band are covered.

Office equipment, tour vehicles, computers and electronics, power boards and so much more, all top quality at amazing prices. The savings here are unlimited across a broad range of gear from where we take you. This isn’t dodgy groupon stuff, This is the real deal. My office desk and bookshelf for example(smoked glass and steal) cost $39 delivered. The same at Office works was $350. So just that one item resulted in a saving of over $300. But this will amalgamate to thousands of dollars across an multitude of things that you will need to shop for over the years, as you grow.

Software. We take you to a place that makes it all affordable. I paid $175 for full legal version of Photo-shop CS6 valued at $667 and windows 7 full version for around $95 instead of $165. There’s a cool little trick to it but it is all above board. So there alone is another saving of over $500. And there are tonnes of software to choose from.

So in this section there is a minimum potential saving of $2540 + time

The list goes on because there are video marketing tools and Facebook and Twitter driver that work who are offering Australian Music Business manual subscribers double value and all sorts of great bargains from other companies. Not to mention the expert touring logistics we teach you which will save your tours thousands of dollars in mistakes and other savings. Value here worth is tens of thousands over a life-time.

But wait, that’s not all! There’s more!

Good Music Business courses start at $4500 for 6 months and range to $12000 per year for a minimum 3 years. Australian Music Business Manual is $450+ GST for one year and $848 for 3 years. I can guarantee you I cover every facet of the industry. Courses cover certain topics. So if you are thinking of doing these courses there is at least $4000 saving in the first year without opening the pages.

Imagine what you could achieve investing in and growing your own business over three years using Australian Music Business Manual, instead of spending up-to $36000 over 3 years sitting in school and then having to spend the next 3 years developing your business in the real world.

It’s your call.

“I thought I had a handle on the music industry and my management skills. Until I subscribed and I read through your manual the first time. I felt like I was back at the drawing board. How do you know all this?” Dale Shrober – Relentless Management – Managing and performing in The Deep End.Dale has since established his management business and set up a national tour and CD launch for The Deep End. And he is growing his business contacts.

This is My Story…

Darrel Baird.

I am Darrel Baird, the creator of the Australian Music Business Management System and proprietor of the Blue Tongue Management. In Eighteen years of sustained music business, Blue Tongue Management works with start-up bands through to highly successful musical performers

This is not a resume. This is my story. A short version anyway because there is too much to tell. It is written so you get an understanding of how I gained enough knowledge and experience in the music industry to create Australian Music Business Manual and give you confidence that the content within is the real deal and will help your career.

At 17 I was employed at one of Australia’s premier 2000pax music venues working and enjoying the best Australian, US, and UK touring acts on the planet for over two years. And the concerts raged week after week Thursday to Sunday with music fans of all styles and backgrounds gladly paying to support the bands they loved and filling the joint. This was when the music industry was booming, and where my real passion for music began. Thereafter, I spent a decade travelling and frequenting major music festivals and cultural events, stadium and pub concerts and live gigs across Australia.

Ian Moss

In 1996, I launched what was then called ‘Blue Tongue Promotions’ and created and coordinated a multicultural, three day, multi-stage music and arts festival. I contracted 35 bands of all different genre and cultural backgrounds specifically including indigenous bands. The line-up included the cream of Australian rock and blues artists as the headline entourage. I flew them in on old DC-3 plane. The event also included dance groups, food stalls and an array of circus performers. It was streamed live on the web (circa 1996) and broadcast via Com Rad Sat to hundreds of community radio stations world wide. I met an artist manger called Ray Smith at this event. He later became my mentor and taught me the importance of integrity working with artists.

Not long after, I managed two more very successful music events before moving towards artist management where I spent countless months driving in tour vans with bands that had asked me to help manage their careers. I booked, promoted, toured and lugged heavy black bins with these bands. What a great time as we lived the dream. But living expenses and rent costs money, so bands have to make money to pay those bills or just become weekend warriors. The hardships along the way lead me to work on the financial and business aspects harder and realising how many artists did not have management, I began looking at artist management as a profession.

So from 1996 to 2000, that is how I cut my teeth in this industry, building extensive experience in music business operations, artist and event management, tour management, logistics, marketing, promotion, and artist, and media liaison. And my business grew-up with the online revolution.

The Angels.

In 2000, an eight year business relationship began with legendary rockers John and Rick Brewster of The Angels (Angels City) and soon after Chris Bailey and Buzz Bidstrup. Blue Tongue Management was pinnacle in building The Brewster Brothers semi acoustic incarnation on a national basis and in steering the reformation of The Angels (Brewster Bailey Bidstrup Brewster, billed as The Original Angels Band) to national success which in-turn lead to their eventual reformation with Doc Neeson in 2008 (The bands original singer prior to 2000).

Although this line-up performed the same songs they wrote, and that ignited their career, we were told by the majority of our peers (Agents/Managers/Media and Rock Stars) along with hard core fans that ‘This band will not succeed without Doc”. So, it was on our shoulders to develop a new brand, build belief in that brand, create our own success and prove them wrong. I had to deliver the band across Australia, and the band had to deliver world class shows or the fans would walk. This was a time of immense pressure and it tested our resolve and self-belief. And we succeeded on all fronts. So if anyone says it can’t be done, pass them by doing it!

Working with this band, Blue Tongue Management implemented all business decisions from meetings, managed the business office, created a healthy income flow by booking and contracting financially viable shows and national tours, and handled tour budgets, and engaged top level booking agents once the band and I gained credibility. Blue Tongue Management handled all media, publicity and promotional campaigns in the early years until we built consistently strong audience attendance to pay a high level publicist. Blue Tongue Management organised all travel logistics, production and crew and personally tour managed four hundred shows with this band alone. Blue Tongue Management designed merchandise, engaged manufacturing companies and sold that merchandise world wide. And built and managed the bands Website and social media until 2008. Blue Tongue Management also booked approximately three hundred performances for Brewster Brothers duo show and countless shows for many many other bands.

In many cases successful artists have a separate manager, tour manager, publicist and a label. The office of Blue Tongue Management worked with the four original members of The Angels and delivered quality management service, label service, tour management service and promotional service from grass roots to success. And everything else in between. There where plenty of stumbling blocks but we worked around them, become the wiser and moved forward. One of our last shows together was in front of 10,000 in W.A.

Harmonic Generator

During these years Blue Tongue Management continued working with other established artists, booking and promoting their tours and events, and worked in the development of up and coming bands, and booked various music venues, promoted youth concerts and continued to develop strong online social media and networking skills. In 2013 the journey continues with band management, new music releases and in music business consultancy.

Profile Australian, international artists, youth acts and events I have worked with, booked, represented or toured with include but are not limited to The Original Angels Band[The Angels](Aus), Dave Tice and Mark Evans(Aus), Ian Moss(Aus), Kevin Borich(Aus), The Poor(Aus), Adrian Belew(USA), Don Walker and the SF’s(Aus), The Screaming Jets(Aus), Mark Evans (ex ACDC)(Aus), The Radiators(Aus), The Deep End(Aus), Harmonic Generator(France), Darren Jack(Aus), Ray Beadle(Aus), Jenny Marie Lang(Aus), Chris E Thomas(Aus), Lil Fi(Aus), Kara Grainger(Aus), Koomurri(Aus), Sam Joole & Alien Zoo(Aus/UK), Brewster Brothers(Aus), The Backsliders(Aus), Shadow Thieves(Aus), The Bondi Cigars(Aus), Wayne Cornell Jnr(Aus), Raise The Flag(Aus), GangAwry(Aus) and The Brown Brothers(Aus). There are many many more artists, too many to list. You know who you are.

Releases penned for 2013 include Harmonic Generators new album ‘When The Sun Goes Down’ recorded with Mark Opitz and Colin Wynne

Kevin Borich 5 CD’s and two DVD’s back catalogue.

Independent Artists and Band Managers

Wouldn’t you like to have a successful artist manager drive your music career? Hard to secure, aren’t they? Imagine if an experienced artist manager offered you all the tools, and the knowledge, and the contacts you required to succefully drive your own music career? Would that help you? Because that is exactly what’s on offer here. So why waste years unnecessarily, when this manual can give you everything you need today?

A revolutionary new subscription based, online platform, Australian Music Business Manual is an artist management, marketing and music release system that brings all the different sections of music business together in one place. Easy to understand, easy to implement, yet comprehensively detailed and to the point, now anyone can take advantage of the experience, knowledge and the tools of an industry professional and give your music career the best chance of success at an affordable price.

The savings we list below are not the real value of this package. The real value is in the knowledge and understanding of the business that we supply. This alone is worth well more than the $450 price tag.

The savings listed below, we supply to our subscribers as they are what a great artist manager would pass down and save your career if you were signed to them. And so to make sure I deliver to you a complete management system, I deliver the same, to make sure subscribers gain full value for their investment. This is what makes this product the only complete self help Australian Music Business Management system available in this country.

I am only going to touch the edges on the savings we create for you because there simply to many way we create ways to save you money and create income.

The value of the forms supplied and listed in the contents are yours for life whether you resubscribe for the second year or not.

Trademark categories and sub categories research would take you around 5 hours minimum to sort out by yourself but you would probably need a lawyer or IP expert. We teach you how to DIY and Save $900 + 5 hours of time.

Business Phone Skills – 6 months training saved. Get the gigs, make the deals.

Band Member agreement ready to go except for your own minor adjustments. Save $600 minimum

Electronic Business Signature – Near Zero printing . Save $200 minimum in ink jets a year

One page booking agreement Save $25

Full Booking Agreement Save $700

Professional Modulated Stage Plan and Back line Save$100

Record Producer Agreement Save$500

Broadcast release form Save $50

Merchandise Consignment Agreement Save $50

Tour Budget Form Save$20

Tour Booklet Save$150

Music Media database – Save$250 minimum

1 x hour consultancy – Save $75

The other forms are time savers and knowledge so we wont count them in our quest to show financial value for these purposes.

Whether you need them now or next year we will save you $3620 just within the forms + time. What could you do with that extra cash?

Then there are leads we supply to great businesses that supply products and services required by a professional self managed artist to function at high level.

Accounting software such as Quick Books and MYOB can cost anything between $300 and $1000’s. So we supply you with a basic invoice to get you out of trouble. And we also introduce you to an accounting software to get your books started professionally and on the right foot with easy to use invoicing systems for around $60 a year until you can afford a more extensive software. SAVE $240 MINIMUM in your first year

Public Liability. I know most of you say I don’t need that, the venue should do it. But the fact is the venue and you need to have public liability. If you want to perform at a Festival anywhere in Australia, You will have to gain public liability full stop. In Queensland you will not find many venues at all that will allow you to play without it and you will definitely have to have it if you want to gain a professional booking agent. So you can dodge it for a while but if you want to move forward an give yourself best chance to gain festival slots, quality venues and booking agents to represent you, then Public Liability is a must!

So Public Liability can be very expensive. We send you to a company that changes that. I have saved many artists I work with an average saving of around $1500 a year every year, by moving them to the company we send you to, from now on. And this covers the whole band. And it will include some of your instruments to boot. As Homer Simpson would say WooooHooooa. So for around $300 a year you and your band are covered.

Office equipment, tour vehicles, computers and electronics, power boards and so much more, all top quality at amazing prices. The savings here are unlimited across a broad range of gear from where we take you. This isn’t dodgy groupon stuff, This is the real deal. My office desk and bookshelf for example(smoked glass and steal) cost $39 delivered. The same at Office works was $350. So just that one item resulted in a saving of over $300. But this will amalgamate to thousands of dollars across an multitude of things that you will need to shop for over the years, as you grow.

Software. We take you to a place that makes it all affordable. I paid $175 for full legal version of Photo-shop CS6 valued at $667 and windows 7 full version for around $95 instead of $165. There’s a cool little trick to it but it is all above board. So there alone is another saving of over $500. And there are tonnes of software to choose from.

So in this section there is a minimum potential saving of $2540 + time

The list goes on because there are video marketing tools and Facebook and Twitter driver that work who are offering Australian Music Business manual subscribers double value and all sorts of great bargains from other companies. Not to mention the expert touring logistics we teach you which will save your tours thousands of dollars in mistakes and other savings. Value here worth is tens of thousands over a life-time.

But wait, that’s not all! There’s more!

Good Music Business courses start at $4500 for 6 months and range to $12000 per year for a minimum 3 years. Australian Music Business Manual is $450+ GST for one year and $848 for 3 years. I can guarantee you I cover every facet of the industry. Courses cover certain topics. So if you are thinking of doing these courses there is at least $4000 saving in the first year without opening the pages.

Imagine what you could achieve investing in and growing your own business over three years using Australian Music Business Manual, instead of spending up-to $36000 over 3 years sitting in school and then having to spend the next 3 years developing your business in the real world.

It’s your call.

“I thought I had a handle on the music industry and my management skills. Until I subscribed and I read through your manual the first time. I felt like I was back at the drawing board. How do you know all this?” Dale Shrober – Relentless Management – Managing and performing in The Deep End.Dale has since established his management business and set up a national tour and CD launch for The Deep End. And he is growing his business contacts.

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Australian Representatives Head To Memphis For

The

International Blues Challenge !

The 29th International Blues Challenge will begin Tuesday Night (Jan 29) with the Fed Ex International Showcase. Wednesday and Thursday night (January 30-31) quarter finals will be conducted. Youth Showcase and Semi Finals will be held Friday night (Feb 1). Saturday (Feb 2) IBC will conclude with Finals in the beautiful Orpheum Theater.

The 2013 International Blues Challenge will be the 29th year of Blues musicians from around the world competing for cash, prizes, and industry recognition. The Blues Foundation will present the 29th International Blues Challenge January 29-February 2, 2013 in Memphis, TN. The world’s largest gathering of Blues acts represents an international search by The Blues Foundation and its Affiliated Organizations for the Blues Band and Solo/Duo Blues Act ready to take their act to the international stage. In 2012, 119 bands and 86 solo/duo acts entered, filling the clubs up and down Beale Street for the quarter-finals on Wednesday and Thursday, the semi-finals on Friday and the finals at the Orpheum Theater on Saturday. We will have at least that many in 2013.

The 29th year of the International Blues Challenge will once again include a youth showcase for those under the age of 21. The 29th IBC will include an afternoon (Friday, February 1, 2013) of talented young people showcasing their talents for record labels, media, festivals, managers, talent buyers and the fans.

The week of events will once again kick off Tuesday night with a Meet & Greet hosted by the Beale Street Merchants Association at the New Daisy Theatre, followed by the Fed Ex International Showcase. In addition to the evening Blues competition, the days are filled with seminars and workshops and topped off in a moving Saturday morning brunch in which the Blues community will honour its own with the prestigious Keeping the Blues Alive (KBA) awards that honour the men and women, who have made significant contributions to the Blues music world, in 20 categories such as journalism, literature and photography and to the best clubs and festivals, as well as managers, promoters and producers.
The 29th International Blues Challenge is sponsored by Arts Memphis, Beale Street Merchants Association, Consulate General of Canada – Atlanta, Fed Ex, Gibson, Hand Family Beverages, Legendary Rhythm & Blues Cruise, Memphis Convention and Visitors Bureau and Tennessee Arts Commission.

Winning the International Blues Challenge is better than having a $100,000 publicity budget. 2004 IBC winner and 2006 Blues Music Award Best New Artist Zac Harmon

This was my first year attending the International Blues Challenge and it was better than any festival I have ever attended.Eddie Bagwell, Tulsa Blues Society.

The amount of talent that gathered in Memphis was staggering. I have to admit it sent chills down my spine whenever I looked around and realise I was in Memphis at the International Blues Challenge and that I actually knew some of these performers on stage. Goose bump time! We were able to see 35+ IBC performers and I can honestly say everyone we saw was talented and truly belonged there. Everything we heard was pure blues, and this was one time I was glad I was not judging. Chick Cavallero, Colorado Blues Society
The IBC is sponsored by the good folks at the companies and arts organisations identified on the side banner.

The IBC has evolved into the nation’s biggest and most respected showcase for Blues musicians ready to take their act to the national stage. The IBC is a judged “Battle of the Bands” in which competitors take the stage and play a short set for a panel of judges. The acts are judged based on an established set of criteria.

The IBC represents an international search by The Blues Foundation and its Affiliated Organisation (mostly blues societies) for the Blues Band and Solo/Duo Blues Act ready to perform on a national stage, but just need that extra break. Each Affiliate of The Blues Foundation has the right to send a band and solo/duo act to represent the organisation at the IBC Semi-Finals on Beale Street in Memphis, TN.

Affiliates are required to stage a regional preliminary IBC competition, with the winner of that competition representing the organisation in the Memphis international competition. Usually, these preliminary rounds are held in clubs as part of a fund-raiser or simply an excitement-building event. Each organisation is free to structure the preliminary round as it sees fit, as long as a single band and/or solo/duo act is identified. However, since The Blues Foundation scoring criteria will determine the ultimate winner, we strongly encourage our Affiliates to use the same system in the preliminary competitions.

Tim ‘Gravelgutz’ Griffin.

So what makes Tim ‘Gravelgutz’ Griffin stand out ?

Soulful original song’s, sung by a ‘Gravelgutz’ Voice filled with enough Blues emotion to tear your heart out ! His Guitar has little or no effects on it. His shoeless foot pounds out the rhythm from a Stomp Box that enthusiastically runs through his body begging for a soulful release. This release transfers to his guitar work. It will have you mesmerised, encompassing Hammer ons, Flamenco Finger Picking and Slam Rhythms.

Tim connects with the audience from the moment he steps on stage, he is a magnet and pull’s at their very heartstrings. It is not unusual for an audience to go completely silent whilst Tim is playing and … break out into outrageous applause after each song.

Tim Griffin has been performing for over 20 years. He has toured extensively around both Islands of New Zealand with great success.

Upon moving to Townsville he quickly established a name for himself as a popular local artist.

Throughout his career, Tim has performed with many International artists from bands such as ;

Thin Lizzy, Katchafire and The Herbs.

Tim has many industry friends and collaborators such as, Thirsty Merc, Shihad and UB40.

The Album, “Castle Hill Blues” features Mark Greig from Australian Crawl on lead guitar.

The Darren Jack Hammond Trio.

Following the successful launch of his new album ‘Better Place’ in October at Sydney’s The Vanguard, Darren Jack continues to re-ignite

rock ‘n’ blues fans at venues with his powerhouse trio sweeping up the 2012 Australian Blues Music Awards.

Australian Blue Music Awards 2012

Best Album of the Year – Better Place – Darren Jack
Best Song of the Year – Whats The Hurry – Darren Jack – 320kps MP3 Download
Best Group of the Year – Darren Jack Hammond Trio
Best New Talent of the Year – Darren Jack
Best Producer of the Year – Sean Rudd – Better Place

Featuring Sam Boyd on Hammond Organ and Rosscoe Clarke on Drums, there is an obvious fusion and raw energy presented from the each performance reminiscent of the power Darren’s 90’s band, “Third Degree” delivered but it’s got something the early years yearned for … The Songs.

Darren’s powerful vocals are more refined. He is already noted in his youth as one of Australia’s top blues guitarists.

The Andrea Marr Band.

The Andrea Marr Band was formed in 1999 and has been delivering their brand of sassy, soulful, high energy blues around Australia, playing headline spots at major festivals all around the country. The current line-up which has been together for the past five years has created the most successful album so far in Andrea’s career delivering the multi-award winning album “Little Sister Got Soul” which earned Andrea a record deal with Chicago based blues label Blue Skunk Music. The album received rave reviews and got to #17 on THE US LIVING BLUES CHARTS in Feb 2011. The energy, chemistry and sheer feel good vibe that is created between the band members is something everyone comments about at shows and what makes this band a don’t miss! If you like Sharon Jones, Tina Turner, Aretha Franklin and the Blues Brothers, you’re gonna’ love this!

AWARDS/ACCOLADES
2011 Andrea Marr Band wins 2nd place in MBAS Blues Performer of the year.
2011 “Little Sister Got Soul” hits #17 on the US LIVING BLUES CHARTS
2010 Andrea Marr signs to Chicago Blues Label Blue Skunk Music
2009 “Little Sister Got Soul” wins 2009 Australian Female Blues Artist of The Year, 2009 Vic/Tas Female Blues Artist of The Year & 2009 Vic/Tas Best Self Produced CD of the Year
album was also nominated for “Band of the Year” and “Producer of the Year” at the Australian Blues Music Awards
2009 Andrea’s song “Superwoman” is a finalist in the Great American Songlist – with judges scoring the song 10’s for theme, lyrical content and vocal ability
2009 Andrea’s song “Steam up the Windows” written with Greg Dodd wins a Chain Award at the Australian Blues Music Awards for female artist of the year.
2007 Andrea wins the Newcastle Blues Music Award for Female Artist of the Year
2006 Andrea Marr Band represented Australia at the International Blues Challenge In Memphis Tennessee at BB Kings on Beale St and Alligator records founder Bruce Iglauer personally came up to Andrea and said “who are you? how old are you? and where did you learn to sing the blues like that?”
2005 Andrea Marr Band wins Blues Performer of the Year
2002 Album “Sassified” wins Vic/Tas Female Blues Artist of the Year
2001″Sassified” was recorded

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The 2013 Blues Hall of Fame Induction Ceremony will be May 8 in Memphis, Tennessee. The 2013 Inductees will be announced February 12, 2013.

Hall of Fame Introduction

The Blues Hall of Fame is a historical record of those who have made the Blues timeless through performance, documentation, and recording. Since its inception in 1980, The Blues Foundation has inducted new members annually into the Blues Hall of Fame for their historical contribution, impact and overall influence on the Blues.Members are inducted into the Blues Hall of Fame in five categories: Performers, Individuals, Classic of Blues Literature, Classic of Blues Recording (Song), Classic of Blues Recording (Album). Accordingly, individuals, recordings and literature are included in the Blues Hall of Fame.There is no submission or nomination process for induction in to the Blues Hall of Fame. Rather, each year in the fall, a distinguished panel of blues scholars begins the process of discussing who they believe should be given consideration for induction into the Blues Hall of Fame. After some back and forth, they vote in each of the five categories. The number of nominees in a year may vary.

With help from a matching grant from the Tennessee Arts Commission awarded in July 2007, The Blues Foundation has been adding definitive biographical material for each of the inductees. Noted Blues scholar Jim O’Neal has researched and written these sketches which continue to be added to the website as they become available.

The Blues Foundation is currently conducting the Campaign for the Blues Hall of Fame, a $3.5 million capital campaign to add Hall of Fame exhibits to our offices at 421 South Main. For complete information click on Capital Campaign at left. To find out how you can be a part of this project, contact Executive Director Jay Sieleman at 901.527.2583 ext. 12

The Blues Foundation is Memphis-based, but world-renown as THE organization dedicated to preserving our blues music history, celebrating recording and performance excellence, supporting blues education and ensuring the future of this uniquely American art form. Founded in 1980, The Blues Foundation has 4500 individual members and 200 affiliated local blues societies representing another 50,000 fans and professionals around the world. Its signature honors and events–the Blues Music Awards, Blues Hall of Fame, International Blues Challenge and Keeping the Blues Alive Awards–make it the international center of blues music. Its HART Fund provides the blues community with medical assistance while its Sound Healthcare program offers musicians health insurance access. Blues in the Schools programs and Generation Blues scholarships expose new generations to blues music. Throughout the year, the Foundation staff serves the worldwide Blues community with answers, contact information and news.

A twenty-five person Board of Directors governs the Foundation. Funding for The Blues Foundation comes from membership dues, private donations, corporate sponsorships, grants from private foundations, government agencies and arts organizations and merchandise, advertising and event ticket sales. Contributions to The Blues Foundation, including membership dues, are tax deductible to the fullest extent allowable by law.PRESERVATION OF BLUES HISTORY – The Blues Foundation seeks to preserve and to highlight the rich history of Blues through the following:

The Blues Hall of Fame – Each year the Foundation acknowledges the pioneers of Blues through its inductions into the Blues Hall of Fame. The Blues Hall of Fame inductions have been held in Memphis, Los Angeles and Washington, DC.

The Lifetime Achievement Award – The Blues Foundation has periodically paid special tribute to a legend of Blues with its Lifetime Achievement Award, traditionally presented in Los Angeles.

The HART Fund – Through its Handy Artists Relief Trust (HART Fund), the Foundation provides financial assistance to Blues artists and their loved ones in tough times arising from illness, accident and other similar circumstances.

CELEBRATION OF BLUES EXCELLENCE – The Blues Foundation celebrates the best current developments in Blues through the following:

The Blues Music Awards Awards – What have at times been known as the Handy Awards represent the highest accolade afforded musicians and songwriters in Blues music. The show is presented each spring in Memphis and has been shown across America on noncommercial television stations.

The International Blues Challenge (“IBC”) – The contest begins months before at dozens of regional “battles of the bands” presented by the Foundation’s 165 Affiliated Organizations. The winners of these preliminaries are matched in head-to-head juried competition for the chance to take their band or solo/duo act to the national stage with great gigs, cash and prizes.

The IBC weekend also features the only international conference for Blues societies, offers networking and problem-solving opportunities not found elsewhere. These behind-the-scenes people so important to the Blues world are also honored during the IBC weekend with the Foundation’s annual Keeping the Blues Alive Awards.SUPPORT OF EDUCATION – The Blues Foundation supports music education initiatives through the following:

http://www.blues.org – The Blues Foundation’s website represents a comprehensive collection of resources for Blues scholars and fans. Included on the site are a searchable database of Blues educators and artists-in-residence, a Blues bibliography, and a collection of Blues-based curricula compiled from educators around the country.

Looking for a Blues Society in Idaho or the complete history of Blues Music Awards winners? http://www.blues.org is the site to visit on the internet. The Blues Foundation’s official website is a first point of contact for anyone looking for information about the Blues.

Blues in the Schools – The Foundation fosters Blues in the Schools music education programs across America. The website BITS pages offer links to providers and programs around the country.

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This is a checklist of key details which should be included in a booking confirmation agreement. It is not exhaustive. It is not a
substitute for legal advice. Every engagement is different in some way. Almost all deals can be improved by professional analysis and
negotiation. You should get competent and specialised legal advice on the subject matter and terms of any agreement before you sign
anything. However, this checklist sets out the details and issues you should be on the look-out for.

AMIN is the national network of state music industry associations – Contemporary Music Services Tasmania (CMST), Music NSW, Music NT, Music Victoria, Q Music and the West Australian Music Industry Association (WAM). AMIN broadly represents the music industry across genres and sectors, and its members provide services to musicians and music businesses throughout their careers, right across the country.

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What is a Booking Contract
A booking contract allows a venue to state the rules under which a band is to perform a gig and the rules under which both parties
must act. These rules may include, but are not limited to, promotion, ticketing, production, payment, hospitality riders.

Why do you need a Booking Contract
The booking contract allows both the venue and the band to know exactly what is required of them when putting on a gig. The venue
can state what it expects from the band and likewise the band can stipulate their requirements. This ensures that both parties are aware of the other’s expectations. Essentially, the booking contract is there to minimise potential conflict over how the gig should progress.

When would you use a Booking Contract
A booking contract should be entered into well in advance of each gig. This allows time for both parties to negotiate the terms of the
gig and understand their responsibilities prior to, during and after the performance. It is essential that everyone is aware of what each
party expects prior to the performance to avoid any conflict over expectations on the night.How to use this Fact Sheet and included Checklist
Included with this fact sheet is a checklist of many of the issues the parties should agree on. The checklist will give you a quick idea of
the key terms of a contract whilst this fact sheet provides added details on key clauses. For ease of reference, all clause numbers used
in the checklist will be mirrored in this fact sheet.
By referring to both these resources, we believe that you will be in a position to better decide whether or not to sign on that dotted line, and how better to negotiate getting there!

Key Terms of a Booking Contract

Clause 3 Performance DetailsTimes
An essential part of every booking contract is timing. Parties must agree on when bands should load–in, sound check, perform, bump–
out and leave. If a band is late for a sound check or their performance runs over the agreed time, a venue’s “run sheet” for the night
can become skewed, causing issues with performance and load out times, as well as the licensing restrictions for the venue coming in
to play if a show runs late. Venues can hold the band accountable for any delays or loss of time if that is expressly provided in their
contract.Clause 4 Fee (or basis of calculation)Deposit and Final Payments
Bands are generally paid in one of two ways. The first is in the form of a one off fee — that will be paid by the venue either following
the performance, or in two installments as a deposit and final payment upon completion of the performance. Bands are also sometimes
paid additionally, or alternatively, with a percentage of all ticket sales from the show (see below).Cover Charge
Bands may receive what is called a cut (a percentage of all ticket sales) from the gig rather than a specific fee. This is a good way in
which venues can enlist the bands to promote the gig to their audience, so that the band may earn increased income from the show
through better attendance figures. This percentage should always be agreed upon prior to performance.
It is important for bands to know when they will be paid their cut — it is often the case that the venue will look after ticket sales and pay
the band at the end of the night.Minimum Ticket Sales
Sometimes venues will require a form of security from a band or wanting to use the venue for a show. This security might be in the form
of “minimum ticket sales”. The venue will require that if the band does not sell a specified amount of tickets, for example: 100 tickets at
$10 each, the band will be required to pay the venue the difference with between actual attendance figures and the target. Bands
should be wary of such requirements and must only sign up to such an agreement if they are confident they can meet the minimum
number of ticket sales.Sound Engineers
Most venues have their own sound engineer and will often insist that bands use this person to arrange and carry out all sound duties
on the night. Due to this, the band will usually have to pay the sound engineer for their services before taking any profit from the night.
It is also important for bands to remember that any delays caused could see the sound engineer charge them additionally — another
incentive for bands to stick to the run sheet of the night and to read their booking contract carefully.

Travel and Accommodation
Before agreeing to any performance a band should know if the performance fee includes their travel and accommodation costs. As
these be quite costly (especially if the band has many members or is travelling a long distance) these costs can significantly reduce the
incentive for actually playing the show. If travel and accommodation costs are not included, bands should always try to increase their
fee to cover these costs.Clause 5 Promotion Arrangements
Venues need to ensure that bands promote their gigs as much as possible. To ensure that bands adequately market the gig, venues
specify exactly what forms of promotion they expect — this includes but may not be limited to posters, flyers, street press advertising and digital marketing. Venues may also request bands provide them with gig posters to be placed around the venue in the weeks prior to the show.
Bands must ensure that they can fulfil all of these promotion methods and are able to cover the costs involved prior to signing any
booking contract.

Clause 6 Cancellation And TerminationVenue Cancellation Fee
As is sometimes the case, the band or the venue may cancel a show prior to the event. Venues usually require a cancellation fee is paid
by the band to make up for lost revenue. This should be detailed in the contract.Force Majeure
Sometimes a gig may be cancelled or stopped due to factors that are out of the control of both parties — these are known as “Force
Majeure” events or Acts of God. These may include events such as heavy rain that causes a power shortage, blackouts, civil unrest and
more. Parties should detail how any costs will be shared and paid between the parties.Clause 7 Liability Insurance
It is important for bands to insist that venues hold adequate insurance to cover injuries that may happen during the gig. This will ensure that any injuries sustained can be adequately compensated and are the responsibility of the venue, rather than the band. Similarly, a venue will often require bands to hold their own public liability insurance. Whichever side of the fence you sit on, you should ensure you have taken out the appropriate insurances for the activities you’re undertaking.Clause 8 NSW Licence
It is a requirement that booking agents working in NSW hold a specific licence. This was introduced to stop industry professionals
taking advantage of artists and to ultimately reduce the risks for creatives in the entertainment industry. It is illegal to work as a booking agent without such a licence.
Proposals to change the Act have been made and approved by the NSW Government – agents and managers should keep on top of
developments as they may affect your business when they come into effect.